chas2
Registered: 09/07/09
Posts: 86
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Reply with quote | #16 |
I have a nasty sounding DES version I got a few years ago. Twodawgzz version beats that one by far. I definatly have to change my version. Great work. |
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Twodawgzz
Registered: 04/27/07
Posts: 787
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Reply with quote | #17 |
To answer LanceHall's question, this mix is simply Digitally Constructed Stereo.
I started with a mono WAV file of the U.S. release of the song. Then, very carefully and methodically, using Adobe Audition, I cut and pasted together a parallel 2nd channel, instrumental except in the choruses, whereby nothing in the created ("right") channel would be audible as 2-track mono when played with the original mono ("left") channel. In other words, the new channel never plays the same signal that is in the original channel.
This process is very time consuming as many segments of the new track are less than a second or two long when one is constructing them. The segments almost always require shrinking or stretching to match the timing of the original. I just checked the folder I used for this song and see that there are 13 small instrumental sections I saved, because they are used during construction more than once. For example, some file names are "extra guitar part-4 bars", "intro piece", "slide piece", "first verse piece repeated"). When the new track is completed, I again listen very closely numerous times to identify any timing issues that require further synchronization. (By the way, Pro Tools does a much better job than Audition at shrinking/stretching. Audition often introduces warbling artifacts that do not appear in Pro Tools.)
The last phase is mixing the channels together. Usually in this phase, another vocal channel is created using parametric eq, in order to bring out the vocals, which get buried in the mix due to having the new mostly all-instrumental channel. Effects such as panning, delay, reverb, etc., are introduced during mixing to achieve the best overall sound. Then, any final adjustments, such as levels and fadeout, are made to the 2-track mix. And lastly, I listen a million times to an mp3 of the mix on an iPod through my Beyerdynamic DT 770 Pro's (which are the best headphones I have ever heard for good bass response), in order to identify any final final tweaks before I post a link to the WAV file of the mix on the BSN Board.
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AlanCarner
Registered: 02/03/04
Posts: 848
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Reply with quote | #18 |
You did an excellent job at this. I think you could play this to almost anyone (Except BSNers) and they would never know that this was created.
Alan
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ded
Registered: 02/02/04
Posts: 629
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Reply with quote | #19 |
Again, a tip of my hat for your patience and attention to detail. The result is great sounding!
Dave
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chas2
Registered: 09/07/09
Posts: 86
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Reply with quote | #20 |
Quote: Originally Posted by Twodawgzz
To answer LanceHall's question, this mix is simply Digitally Constructed Stereo.
I started with a mono WAV file of the U.S. release of the song. Then, very carefully and methodically, using Adobe Audition, I cut and pasted together a parallel 2nd channel, instrumental except in the choruses, whereby nothing in the created ("right") channel would be audible as 2-track mono when played with the original mono ("left") channel. In other words, the new channel never plays the same signal that is in the original channel.
This process is very time consuming as many segments of the new track are less than a second or two long when one is constructing them. The segments almost always require shrinking or stretching to match the timing of the original. I just checked the folder I used for this song and see that there are 13 small instrumental sections I saved, because they are used during construction more than once. For example, some file names are "extra guitar part-4 bars", "intro piece", "slide piece", "first verse piece repeated"). When the new track is completed, I again listen very closely numerous times to identify any timing issues that require further synchronization. (By the way, Pro Tools does a much better job than Audition at shrinking/stretching. Audition often introduces warbling artifacts that do not appear in Pro Tools.)
The last phase is mixing the channels together. Usually in this phase, another vocal channel is created using parametric eq, in order to bring out the vocals, which get buried in the mix due to having the new mostly all-instrumental channel. Effects such as panning, delay, reverb, etc., are introduced during mixing to achieve the best overall sound. Then, any final adjustments, such as levels and fadeout, are made to the 2-track mix. And lastly, I listen a million times to an mp3 of the mix on an iPod through my Beyerdynamic DT 770 Pro's (which are the best headphones I have ever heard for good bass response), in order to identify any final final tweaks before I post a link to the WAV file of the mix on the BSN Board.
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Twodawgzz
Registered: 04/27/07
Posts: 787
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Reply with quote | #21 |
Quote: Originally Posted by chas2
I converted my car headlights from 9004 45W to 9007 55W simply by switching the two wires to the bulb sockets.
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PaulBigelow
Registered: 03/23/04
Posts: 3,496
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Reply with quote | #22 |
Thank you for the insight Twodawgzz! The results are the proof and I enjoyed the DCS very much.
For those who may be interested in the process and want a peek into the work, I use Audacity and here's a screen capture of what was being worked with The Shevelles DCS "I Could Conquer The World" (note that's iteration #27!):
The first two tracks are the stereo backing vocals (L & R)
The third track is the main mono center track (Center)
The fourth track are the hand claps (note that the hand claps had to fade with the ending!) (L)
The fifth track is the recreated backing track (R)
The sixth track are odd vocal pieces and whatever else was needed. (R)
As an example, the "handclap" track was created by selecting Tracks->Add New->Audio Track. Then by highlighting a representative handclap piece in the original recording, copying and pasting into the new track. Then, continue to paste as needed in that track for the entire song. One can zoom in to the waveform to ensure the handclap is at the correct time as compared to the original track.
As with the other techniques one has be able to think and see music as a picture and to edit that picture to locate repetitive beats, vocals, instruments, repair dropouts, etc. while keeping in mind that the original timing of the recording or the person playing or singing may vary slightly during the song requiring pitch/time matching as Twodawgzz mentioned.
It can be quite a juggling act!
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chas2
Registered: 09/07/09
Posts: 86
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Reply with quote | #23 |
Quote: Originally Posted by TwodawgzzQuote: Originally Posted by chas2
I converted my car headlights from 9004 45W to 9007 55W simply by switching the two wires to the bulb sockets. Why would one change the brightness of car headlights? Is that even legal? I've changed speedometer bulbs in motorcycles in order to better see how fast one is going in the dark, but headlights?
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UKSTEREO
Registered: 06/07/06
Posts: 40
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Reply with quote | #24 |
Twodawgz...THANKS!! Here in the UK we have a programme where celebrities try out their dancing skills "Strictly Come Dancing". The relevance to your incredible mix?? Well judge (well -known in the UK) Craig Revell - Horwood is well known to utter: "I've just got one word to say......A - MA - ZING!!!" ABSOLUTELY SUPERB!!!! Many thanks for your time, effort and skill....and sharing.
Rob
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JACumbo
Registered: 03/08/08
Posts: 256
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Reply with quote | #25 |
Quote: Originally Posted by chas2Quote: Originally Posted by TwodawgzzQuote: Originally Posted by chas2
I converted my car headlights from 9004 45W to 9007 55W simply by switching the two wires to the bulb sockets. Why would one change the brightness of car headlights? Is that even legal? I've changed speedometer bulbs in motorcycles in order to better see how fast one is going in the dark, but headlights?
Yes, totally legal. 55W is what most have today. I did it because my headlight lenses are hazy from old age & salt from the winter. It made a big difference & saved about $90 from having to change the lenses out, if you can find good used ones, which are about 10-in-90 chance you'll find any around here or on line that are clean. The lens restore kits don't work too good. To make this music related, "A Hazy Shade Of Lenses". Now to totaly threadjack here, you can buy polishing kits to fix hazy lenes. I did that for my car. It isn't 100% perfect, but it does help a lot. |
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CGH
Registered: 02/01/04
Posts: 173
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Reply with quote | #26 |
I guess the next step is to try Meguiar's #10 Plastic Polish, which I use on my headlight lenses, on some of those peskier vinyl records.
(I have nearly three decades of experience in arresting thread drift.)
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albinStereo
Registered: 07/19/08
Posts: 213
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Reply with quote | #27 |
Thanks again, keep up the sacrilege.
I'll have this version played at my funeral.
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RustyRails
Registered: 02/08/04
Posts: 47
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Reply with quote | #28 |
Brilliant Twodawgz..can ya do some more......lol......maybe house of the rising sun?
plzzzzzzzzzzzzzzzz
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